Pere Gimferrer
Personal Information
Description
Pere Gimferrer (born 22 June 1945) is an award-winning Spanish poet, translator and novelist. He is twice winner of Spain's Premio Nacional de Poesía (National Poetry Prize). He was born in Barcelona in 1945. He writes both in Castilian and Catalan. In Castilian, he has written the poetry collections Arde el mar (1966, National Prize for Poetry), Amor en vilo (2006), Interludio azul (2006) and Tornado (2008). In Catalan, he has written the novel Fortuny (1983, Ramon Llull Novel Award and Critica Prize), and the poetry collection El vendaval (1988, National Poetry Prize). For lifetime achievement, he won the Premio Nacional de las Letras Españolas (National Prize for Spanish Literature) in 1998 and the International Octavio Paz Prize for Poetry and Criticism in 2006. Gimferrer was elected to Seat O of the Real Academia Española on 18 April 1985, he took up his seat on 15 December the same year. Source: [Pere Gimferrer]( on Wikipedia.
Books
The roots of Miró
By comparing Spanish artist Joan Miro's finished paintings and sculptures with more than 1200 of his sketches and preparatory studies, Gimferrer places Miro's art in a surprising new perspective. Marvelously illustrated with 285 radiant color plates and 1276 in black-and-white, this intensive analysis of Miro's creative process explains how he would first isolate some element from the teeming outside world, then incorporate a graphic sign into it, thus setting in motion a transfigurative process in which objects, signs and symbols underwent a constant metamorphosis. In placing Miro's preliminary drawings alongside the pictures to which they gave rise, Spanish poet and art critic Gimferrer illuminates the inner alchemy by which Miro discovered his major motifs and set them loose in a free-floating pictorial universe.
Cine y literatura
El presente ensayo trata de las complejas relaciones que existen entre los textos literarios y sus adaptaciones cinematográficas. Los dos lenguajes, el de la literatura y el fílmico, tienen en común su carácter narrativo, pero pertenecen a dos órdenes de expresión muy diferentes, y el autor va analizando el caso de las obras maestras del teatro y la novela adaptadas a la pantalla (el Quijote, Shakerspeare, Dostoievski) y las paradojas que ofrece la historia del cine en cuanto a la conversión en imágenes de unos materiales escritos: con un mal guión puede hacerse un buen film (caso de Sirk), con una mentalidad teatral también puede hacerse una buena película (caso de Pagnol), disimulando el origen escénico de un argumento puede estropearse una buena idea, siendo fiel a un gran clásico se consigue teatro filmado, no cine (el Hamlet de Olivier), etc. todo eso y muchas cosas más se explican y comentan de un modo riguroso y brillante que arroja luz sobre uno de los aspectos de mayor interés de toda la historia del cine, su soporte literario y la manera como éste condiciona el trabajo del director.